The end result is a pretty extraordinary album, but what makes Goon really special is the future it hints at.

On R Plus Seven, it just sounds like triumph.

It's a sweet musical reprieve from radio presenters with beaming suicide smiles gracing subway posters with snappy catchphrases.

Shabazz Palaces offer an ethereal conglomerate with a prophetic voice, a gutsy move that's more than paid off here.

It's headphone music for sure, optimally experienced on a slow train with a glass roof so the record's atmospheric elements can aptly complement the passing stars.

Americana record of the year? It's up there.

You don't have to be a churchgoer to recognize the positive, life-affirming role music this powerful can play. Given the state of things in the American South (not to mention various hotspots around the world), music this soulful is clearly timeless.

With an album-long theme revolving around the ascent of an alien who joins forces with natives to save the world, Antibalas seem more than ready to push themselves to another musical level with Where the Gods Are in Peace.

Unlike her Polaris Prize-winning 2015 record Power in the Blood, there are no love songs; Medicine Songs is unflinching in its focus.

Although Kinsella still writes dense math rockers ("On with the Show") alongside uncomplicated acoustic ditties ("Headphoned"), The Avalanche seems to meld together into slosh of uniform sound, leaving the listener with an album that is emotionally thrilling even when it is tactilely urbane.

Taking all of 99.9% into account, it's really no wonder that Kaytranada has become one of the most sought-after producers these days. This will surely mark yet another, even weightier, launchpad for Kaytranada to head skyward, out towards that much-fabled 100%.

At the end of the day, this project shows Megan Thee Stallion in her most refined element--confident, powerful and never submissive.

Pushin' Against The Stone is a rare case when a young artist's natural instincts are spot-on. As both a singer and songwriter, June is a major talent with unlimited potential.

Recorded with Mike Sapone of both Brand New and Taking Back Sunday fame, the album has a lot in common with the former's Deja Entendu. It's also another fierce entry in the more recent catalogue of young and earnest bands like the Hotelier and Modern Baseball who are pushing a similar message of hope in the midst of struggle.

Whether you're aware of the conceptual backstory behind Potential or come into the project blind, Hinton makes the album just as conceptually moody as it is conceptually aural.

How the West Was Won is a very welcome return.

It's a heartening LP, both because of the top-notch, life-affirming beats throughout, along with the renewed vigour in the voice of a man who clearly takes nothing for granted now that he's on the mend.

Although Sprinter is a singular vision, it won't help rid her of the PJ Harvey comparisons, proving Torres to be musician unafraid of comparison, but even less afraid of compromise.

It's an intense, sometimes violent, occasionally beautiful rock'n'roll record that once again proves the unpredictability and reliability of Deerhunter.

Chemtrails over the Country Club is sultry at times, syrupy sweet at others, and sad in a truer way than we have yet seen from Lana. It is a well-woven escape, but it is harder than ever not to wonder: at what cost?

This is a solid album more than capable of holding fans over until a second release.

With minimalist lyrics, easy-going beats and subdued horns, Ford's songwriting and voice shine through, tempting to you to press the repeat button.

The best stuff on Short Movie sounds like it may have originated in the most painfully personal places.

It's exciting to see artists try and change and evolve their sound, so while it doesn't always work here, Seth Bogart definitely shows enough promise to make one wonder what future non-Hunx recordings from Bogart will sound like.

Each of the five songs are fantastically paced, building up to massive payoff every time; it's something that's never been out of Terror's range of ability, but a collection of songs consistently of this calibre has been a long time coming.

The evolution can sometimes be clunky, like on "A-Ok" and "People Are Pets," when Thomson's vocal venom and the band's brash tendencies clash in some ways with the songs' brighter moods. But with "Leash" and "Bolt Cutters," they find a softer side that works quite well; each is lifted by a nicely harmonized chorus, and beneath the blown-out speakers is timeless songwriting that could be stripped down to the bones and still stand on its own.

On Bad Vacation, the emotions may be heavy, but that won't stop listeners from dancing along to them and air-guitaring in their bedrooms.

Music about climate disaster usually feels somewhat dogmatic and thematically grandiose. But on Tomorrow's Fire, Ella Williams of Squirrel Flower takes the wide scale of the apocalypse and taps into its most intimate and personal corners.

His music already transcended time, but with the completion of this trilogy he has drawn a link through the past 50 years with his virtuosic compositions.

The result of this endless metamorphosis--it's over an hour long--is an album that is eventually rewarding, but only to those who are determined to follow its scattered pathway to the satisfying, aggregate end.

On his Late Night Tales, Floating Points shows off his exceptional taste and curation skills, assembling a captivating set of songs that test just how "chill" a chill-out compilation can get.

While this release really doesn't break any boundaries, it's beautiful and doesn't demand much more than good feelings. In these times, that's no small thing.

On Big Swimmer, they embrace the uncertainty of it all with refreshing stamina and poise; letting the forces at play wreak some havoc so that they may reach new ground, transformed.

It may take a while before 'Allelujah! Don't Bend! Ascend! is accepted amongst the ranks of their earlier work, if that ever happens, but ultimately, this is the same epic, mystifying GY!BE as always.

With a bit better pacing and fewer drawn-out moments between songs, the record could have been the best of their career, but still stands as a fine addition to their discography.

A couple tracks are crowded and rambling, as the theatrical cacophony obscures intention and meaning in a way that bores rather than intrigues. But for the most part, the album's depth and texture are a refreshing contrast to the industry's current hyper-polished pop moment — and the complexity of the arrangements is essential to support the magnitude of Welch's vulnerability and fury.

Ought are moving forward on Room Inside the World, adding new elements to their sound while largely retaining the tension that makes the band so compelling.

The pair have fully blossomed from their early DIY start, showcasing an incredible range of indie pop craftsmanship and a grounded centredness built on empathy and understanding.

Compared to Memorial, the band's previous release, Guidance plays it straight and heavy, granting the listener fewer moments of mercy from the onslaught of Russian Circles' music.

In honest and raw fashion, Earl Sweatshirt unmasks both sides of success.

Vince has managed to not only be acerbic but entertaining on his newest release. Its only drawback is its extremely short runtime.

Basinski's latest effort is ambitious yet remains rooted in what he does best: instilling a multitude of visceral, yet ambiguous, feelings within his listener.

Although Regards / Ukłony dla Bogusław Schaeffer won't stand as their most approachable LP, nor will it be remembered as their most audacious (it's most likely in between the two), Matmos have cemented their rightful place within the annals of some of the most resourceful and inventive multimedia artists of their generation.

While Fault Lines sees the transitory Deliluh maintain their hankering for neurotic storytelling and bleak narration, they've tapped into an arcane musical world of enveloping darkness predestined for a band that was bound to take their scene by storm before global pandemonium ensued.

Chaney moves with ease from nearly operatic to contemporary and casual and sounds equally at home.

World Eater matches its brutal releases with hope and luminosity. It's a radical, adventurous exploration--and celebration--of the relationship between darkness

He may have ditched the grit that got him here, but the glam he's donning now suits him just fine. While the horse remains untamed, the reins have clearly been fastened.

It captures the sense of being not here, and not there, but somewhere pleasantly ambiguous — a Land of No Junction, indeed.

From the starting gate to the finish line, The True Story of Bananagun is a genuine work of delight to listen to in all of its funky, jazzy, psyched-out glory.

Meek even ventures off-planet for the crunchy electric guitar freakout "Undae Dunes," a tale of youthful love interrupted by a UFO abduction. That kind of psychedelic twist is what gives Haunted Mountain, and much of Meek's discography, the fuel to rocket past so many nostalgia-minded country bandwagoners.

Seeds strikes the perfect balance, as Madlib's thickly layered funk and soul samples and cabinet rocking beats pair with Muldrow's gloriously off-kilter vocals and free-form song structures to make this her most satisfying release to date.

There's a pastoral feel to the album — the band recorded it all in an epic ten day session at a studio in the Welsh countryside, and you can hear that region's influence in everything here. It sounds wide open and unencumbered, full but never cluttered or dense.

Letters Home gives something to write home about, bringing to mind Have Heart's swansong, Songs to Scream at the Sun, while simultaneously containing Defeater's best material to date.

Kannon is Sunn O)))'s most sparse offering in years, but the experiment in meditative metal minimalism is more than capable of shooting listeners towards a higher plane of consciousness.

Ego Death frees the Internet from Odd Future connotations and R&B norms; it's their best work yet.

The 67-minute album features 25 remarkably accessible tracks.

At its best it's far closer to the sort of comeback album that reminds listeners why they loved the music in the first place, instead of the hollow nostalgia of past glories.

This is yet another great Punch Brothers album.

Tonality and instrumentation aside, the overture of All The Right Noises is subtle, reserved and warm.

Crenshaw is a deeply funky jazz record with a sensibility that incorporates the best of this L.A. neighbourhood's long fascination with hip-hop and R&B. It captures the full breadth of the region's rich musical history. ... This is, at the very least, the record of the summer. For some, it might just be the record of 2017.

With classically trained vocals, storytelling swagger and a knack for melodic invention, Lost & Found serves as both introduction and foundation. The debut offering is laden with contradictions: feels safe yet edgy, simple yet complex, ambitious yet relaxed.

Girl Friday doesn't allow you to consume their music conveniently; you have to recognize the group of people who made it. They speak bluntly, demand respect, equity, and play a ton of enjoyable music.

Almost every song is worthy of inclusion.

From her visceral chemistry with her collaborators to their razor-sharp take on Americana and — above all — Price's deeply personal lyricism, there are plenty of elements that make That's How Rumors Get Started one of the year's strongest country releases.

It is emotional, redemptive and leaves an indelible mark on the listener. Andrews provides a raw, honest and unflinching look in the mirror of a failed relationship and finds herself; it's a story as old as time, but somehow told more achingly beautiful here.

A pleasant float into the blue of Allison's mind. It's a safe and comfortable journey, but you might find yourself dreaming of bigger adventures.

Though the sonic explorations undermine the album's overall cohesiveness, Crush remains a shining example of Shepherd's growth as an artist, and his willingness to push boundaries well into his career.

The album's strongest asset is its sense of emotion that bleeds through, especially on guitar solos, in impressive contrast to the always-brutal breakdowns.

The Mael brothers also manage to keep listeners enthralled by freely jumping between modes, moving between jaunty piano songs ("Missionary Position"), cascading layered guitar burners ("Unaware") and clever melodies and bridges ("Giddy, Giddy").

Ultraviolet is indebted to the charm of the natural world, but with it, Moran unlocks dazzling new ones in the process, keys jammed firmly between the strings of her instrument.

Why Make Sense? is a consistently engaging album by a band that has successfully reinvigorated their sound.

Your Queen Is A Reptile, is 55 minutes of ecstatic insurgency.

Goldenheart functions as a hypnotic aural distraction, but little more.

Mangy Love sounds like a collaborative affair from an artist who has the keen ability to keep his musical identity sounding completely idiosyncratic.

This album feels like they need to take another walk in the trees to reconnect with their namesake.

Ohio native sons MHz (Copywrite, the late Camu Tao, Tage Future, Jakki Da Motamouth and producer RJD2) have finally released their long-overdue debut album, MHz Legacy, and it doesn't disappoint.

Time & Space is Turnstile taking what worked from their prior material and seasoning it with a modern, diverse zest.

If The Lost Boy was the new wave rapper's most substantial test of talent and longevity, YBN Cordae passed with flying colours.

It's dark subject matter — which makes grunge's famously gloomy sonic palette a particularly good fit for a record that's as beautiful as it is bleak.

It may not be the triumphant return fans had hoped for, but it's not a desperate gasp for one last breath either. It's somewhere in between — a bittersweet last hurrah. Demanufacture from 1995 will always be the rusted jewel in Fear Factory's scrap metal crown, but Aggression Continuum is a worthy final program before an inevitable systems reboot.

It's a multi-layered affair but each one provokes serious feelings and thoughts for those who peel them back.

Modern Country is a conceptually ambitious, heartfelt undertaking. Some might notice the lack the unbridled colour that characterized Impossible Truth, but ultimately, it isn't enough to hinder the listener's experience.

Sore feels like the culmination of something that's been bubbling under in the city, the perfect marriage of pop craftsmanship and violent anger.

On his third LP, James Holden establishes a sound wholly his own, allowing The Animal Spirits' gorgeous, absorbing and wonderfully unkempt mix of psych, jazz, folk and electronic to infiltrate the listener's psyche.

Sparhawk's plastic electronics are less invasive but still serve to create a new reality, sublimating the sadness and anger to a degree where they are less raw and more manageable.

The album brings the dead back to life with the best kind of dark thrash, which is dripping with West coast hardcore aggression.

There’s a delicacy to the way Kirby’s voice interplays with these vulnerable arrangements, especially on guitar ballads like the earnest “Party of the Century” (which Kirby co-wrote over FaceTime with ANTI- labelmate Christian Lee Hutson).

Topped off with exhaustive liner notes with essays and photos, Masculin Féminin is specifically designed for completists, providing superfans a satisfying wealth of unreleased material.

Loma is also the product of atypical conditions, written and recorded as the marriage of two of its members was dissolving. The trio seem to have leaned in to that situation: Loma captures the intimacy of such heightened circumstance with layered, compelling nuance.

What makes Interior Architecture such a success, though, is how effortless his attention to detail feels, as each movement flows into another to help create an experimental noise concept album.

Not a single cut on Oh My God feels out of place. Each song is effulgent in its composition and intention.

The once nitty-gritty production that better helped listeners live in Sheer Mag's retro world has been tidied up. Having polished up so much that the line between self-awareness and cliché is stretched thin, it's hard to tell whether a concept has been burrowed or held hostage all together. In many ways, the charm is gone. Thankfully, a song like "Hardly to Blame," finds ways to make the best of less-than-ideal situations.

She is loud and thoughtful. The melodies are flirty and messy. Fake It Flowers is an album made to play with guts and grit. At such a young age, Kristi knows herself extremely well, yet is mindful enough to give up only so much of herself to this strong collection of songs.

Its sparseness allows the listener to reflect, in the time and space, on the moments of staggering beauty in the poems.

Throughout the album's 11 tracks and over 42 minutes of music, the quartet manage to brood their way through numerous artistic themes, from Bruegel the Elder to Samuel Beckett, running each through a Western American scope.

Save the Gun is certainly Militarie Gun's most "mainstream" record, with synths, strings and studio tricks co-mingling with distortion and Shelton's caustic, confessional roar. Unfortunately, not every song is a winner, with a number of uninspired tracks in the second half of the record plodding along without the energy or muscle of the first. .... Thankfully, the final act is positively anthemic, with Shelton's voice and the band's booming sincerity keeping the songs from entering derivative "stadium rock" territory.

Sensual and honest, Viva Hinds feels close to the chest, with throbbing pianos, soaring synthesizers, and drum machines accompanying profound reflections on staying true to oneself in love.

It's a slightly scattered record, but one fuelled by an invigorating conviction and helmed by an artist with the gravitational pull to make it all align.